We found – 13 articles for Poet

Marina Zumi: Techno Poetry

Urban Spree Galerie is proud to invite the Argentinian street, light and visual artist Marina Zumi for her first solo show with Urban Spree Galerie. The exhibition’s Opening on September 12th coincides with the closing ceremony of the Berlin UrbanArtWeek.

On this occasion, the Berlin-based artist will create an ambitious presentation of new works on canvas in the gallery space as well as a special immersive light installation in our newly created dark room. Last but not the least, Marina will paint the Urban Spree Artist Wall.

 

« There´s no light without shadows – always in pairs, always in conflict and often deceptive.
In her work Zumi lives the apparent polarity of the two worlds. The refraction of her crystals, the world of the Shadowen just before the sunrise and her technocratic light installations, address the duel between progress and poetry.

« Techno Poetry » is a snapshot of this artistic balancing act. Marina Zumi can not be an artist without becoming a mathematician. In her creation, technology is much more of a continuation than an exclusion of the poetic.
Thus works have been created that are hermaphrodites between the two poles, seemingly from another lifetime. »
Denis Leo Hegic

 

Marina Zumi
« Techno Poetry »

Urban Spree Galerie
Revaler Str. 99
10245 Berlin

Vernissage: Thursday, September 12th, 2019 from 19:00

Exhibition; 12.09.2019 – 06-10-2019

Tu-Su 12:00-19:00

Infos & Catalogue: pascal@urbanspree.com



Orsten Groom: Chrome Dinette

Du 23 Octobre au 23 Janvier 2021, la galerie berlinoise Urban Spree est heureuse d’offrir au peintre Orsten Groom sa première exposition personnelle en Allemagne, « CHROME DINETTE ».

Veuillez noter qu’en application des règles de confinement en vigueur dans le Land de Berlin, la galerie reste ouverte en Novembre 2020 aux horaires habituels ainsi que sur rendez-vous.

 

 

 

Artiste radicalement indépendant et autogéré, Orsten Groom s’est imposé en quelques années comme un acteur incontournable de la jeune scène picturale française, entre milieux alternatifs et institutions muséales.

Sa première rétrospective a été présentée cette année au centre d’art contemporain ACMCM de Perpignan (France) – à seulement 37 ans.

L’exposition berlinoise réunit près d’une quarantaine d’oeuvres, présentées en deux sections :

– le grand ensemble rupestre de 17 toiles « CHROME DINETTE » (accompagné de son proverbial Divan), ronde démente sur les liens unissant Sigmund Freud et Moïse par Égypte antique et caniches malades interposés – sous l’égide de Frank Zappa;

– Une vaste sélection récapitulative de grands formats emblématiques de l’artiste, véritable parcours «subconscient» aux allures de sarcophage pariétal.

 

ORSTEN GROOM: « TOPSY CHOW CHOW »  (CHROME DINETTE SERIES): 160 x 215 cm – Mixed Media – 2020

 

La peinture d’Orsten Groom se présente comme « Art pariétal post-historique ».

Le fameux artiste allemand Jonathan Meese a dit de lui : « Orsten Groom vient des grottes et du Moyen-Âge et garde l’histoire vivace dans l’art actuel. Il vient du futur ».

Fresques au fatras apocalyptique saturées de créatures tirées du Styx de l’oubli par enquêtes talmudiques délirantes, récapitulation carnavalesque de l’histoire depuis le flot des origines et l’histoire de l’art, sa peinture rugit sur de grandes toiles peuplées de figures enchevêtrées par mythologies et archétypes grotesques, Danses macabres glanées par un détective archéologue de la langue.Sa matière est dense, volcanique, habitée comme les foies antiques d’un rituel divinatoire.

« Ce trouble est semblable à celui que j’éprouve dans les grottes de Lascaux ou Chauvet, devant les tableaux du Greco ou de Picasso ou encore au XXe siècle devant l’oeuvre essentielle de Gérard Gasiorowski », comme l’écrit Olivier Kaeppelin, commissaire de sa récente exposition parisienne POMPEII MASTURBATOR – Pour laquelle le Parc archéologique de Pompeii en personne s’est fendu d’une plainte.

Orsten Groom a subi en 2002 un anévrisme qui l’a laissé amnésique et épileptique. Il est diplômé de l’École Nationale Supérieure des Beaux-Arts de Paris en 2009 et du Fresnoy en 2011. Il est lauréat de plusieurs prix : Prix l’art est vivant (2019), Prix de Peinture de l’Académie des Beaux-Arts (2016) et Prix de Peinture Antoine Marin (2015). Le célèbre fabricant de peinture Marin fabrique une couleur à son nom, le Rose Groom.

Il est également musicien, auteur de recueils de poèmes cubistes anglais, cinéaste (Prix du jury pour son film BOBOK au festival Côté-Court 2011) et depuis 2012 auteur du cycle vidéo Les Ballets Russes.

Il a collaboré avec les commissaires et auteurs Olivier Kaeppelin et Paul Ardenne, le cinéaste Guy Maddin, le traducteur et poète André Markowicz, ainsi que l’écrivain Boris Wolowiec.

 

ORSTEN GROOM: « MÂÂT » – 210 x 140 cm – Huile et Glycero sur toile

Implantée en plein coeur de Berlin, La galerie Urban Spree est depuis plus de 8 ans une référence incontournable des arts urbains, entendus comme manifestation d’un art post-pariétal, qui inscrit le graffiti au coeur de sa pratique, sur grande échelle.

Ich bin der Dreck unter deinen Walzen / Ich bin dein geheimer Schmutz Und verlorenes Metallgeld / Ich bin deine Ritze und Schlitze / Ich bin der Autor aller Felgen Und Damast Paspeln / Ich bin Eier aller Arten / Ich bin alle Tage und Nächte / Ich bin der Chrome Dinette / Und du bist mein Sofa. – Frank Zappa

CHROME DINETTE est Divan ardent, Sphinx psychanalytique et Langue malade du Dieu Imprononçable.

 

ORSTEN GROOM: CHROME DINETTE

« Divan, Divan, Weisst du, Wer Ich Bin? »

23.10.2020 – 23/01.2021

Vernissage: Vendredi 23.10.2020 à partir de 18:30 en présence de l’artiste

 

Urban Spree Galerie

Revaler Str. 99

10245 Berlin

Contact, info & catalogue: Pascal Feucher (pascal@urbanspree.com)

Horaires: Mercredi-Samedi 14:00-18:30

Ouverture dimanche 24.10.2020 (14:00-19:00)

 

INSTAGRAM https://www.instagram.com/orsten_groom/

FB https://www.facebook.com/orstengroomglues/

WIKIPEDIA https://fr.wikipedia.org/wiki/Orsten_Groom

 



Berlin- Praha Barter

After the first exhibition, titled « Praha Berlin Barter » (March/April 2019) which was hosted by Urban Spree in Berlin, the gallery is this time being hosted by Trafo Gallery in Prague in a new group exhibition called « Berlin Praha Barter« .

Berlin Praha Barter

Preview: 16.05.2019
Exhibition: 17.05. – 23.06.2019

Curated by Pascal Feucher (Urban Spree)

In this second round, we have invited 11 visual artists of the Urban Spree family to exhibit artworks at Trafo Gallery:

 The artists are representative of the new Berlin scene that emerged since the Fall of the Wall, starting with the precursor – Jim Avignon – quite known for his painted decors of many of the Berlin squatted clubs of the early 90’s and large historic murals (East Side Gallery) and whose remixed cubist/pop art/Neue Sachlichkeit aesthetics are iconic of the Berlin art scene.
Going along the figurative trail, Marion Jdanoff (half of the duo Palefroi) develops a highly poetic and fairytale-like universe, fueled with middle age tales, strange characters, fabled animals in a rich palette of colors. Fabian Warnsing paints large-sized canvases in a faux-naïf style, creating still life paintings, urban landscapes and everyday scenes.

The graphite drawings of Lars Wunderlich are part of a series from 2017 titled « East German Realities », whereby the artist applies his process of distortion and glitches to scenes witnessed in the Eastern parts of Germany where nationalism is still a vivid reality.

Sebas Velasco explores the remnants of the Eastern bloc in a series of oil paintings and drawings based on scenes from Yugoslavia and elsewhere, Plattenbau, old cars, graffiti, and neon hotel signs. An urban/architecture thematic which has been magnified over 20 years by EVOL with his stencils on outdoor electric boxes and on cardboard.

Going further, Hendrik Czakainski creates 3D large-scale post-architectural panels which are radical anatomical explorations of the urban body. His works are impressive, immersive, chaotic urban scenes captured from above, on a bird’s eye view perspective.

Besides figurative and architecture-inspired works, a strong line at Urban Spree has always been « post-graffiti abstraction », i.e. using the codes, techniques, roots, flow and philosophy of graffiti, where the letter becomes an abstraction, a substance.

While Stohead is closer in some instances to the true form of the letter (calligraphy, handstyle, overwriting), he has always experimented beyond it, trying to deconstruct and dissolve the Letter in a post-graffiti approach. Theresa Volpp‘s practice is more focused on the very subject of abstract art and bears only a faint distance to graffiti, although some form of automatic writing exists in her work, in a pre-graffiti way, as if abstract art is trying to reconnect with a certain flow but before the invention of graffiti..

Christian August creates multiple layers of grey colors by erasing, scratching, repainting, and finally achieving a wall texture (in the scratchy meaning of Dubuffet and Brassaï in the early 20th century), then completing his work by a stunning dash of ultramarine color, the artist’s persistent signature. Johannes Mundinger has also strong roots in wall painting and creates delicate abstract works in subdued tones, large shapes and blocs, stunning and contemplative abstract landscapes.

Oscillating between abstract and figurative art, Berlin Praha Barter shows a diversity of approaches and styles, seemingly loosely connected but united by an undercurrent practice of wall painting and shared values.

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Urban Spree Galerie was created in Berlin-Friedrichshain in 2012 as a 400 sqm « artist-run » space with the objective of discovering and promoting the emerging international wave of post-graffiti painters and artists, with a strong focus on local talents.

The gallery is an essential part of Urban Spree, a 1.700 sqm independent multi-cultural complex comprising a Biergarten, a concert room, a bookshop, 5 artist studios, a screen printing studio, itself set in a 70.000 sqm postindustrial creative compound in the heart of Berlin (R.A.W.).

The gallery benefits from its large urban grassroots ecosystem and offers its invited artists an ideal space for experimentation through ambitious on-site residencies and monthly exhibitions that usually involve painting the outside walls of the compound.

It is armed with these values of generosity and openness, shared with Trafo Gallery, that we together decided to initiate a gallery exchange.

https://www.urbanspree.com
instagram: @urban_spree
facebook: Urban Spree

 

Thanks to all Trafo Gallery supporters: Ministerstvo kultury ČR, Magistrát hlavního

města Prahy, Art District 7, Radio 1, Protisedi.cz, ArtMap and Wine4You.

Trafo Gallery, Hala 14, Pražská tržnice, Bubenské nábřeží 306/13, Prague 7, tram
no. 1, 12, 14, 25, metro Vltavská (300m),

Open Wed–Sun 3–7pm, Sat 10am–7pm,
www.trafogallery.cz ,

IG: trafo_gallery,

FB: trafogalerie



12.04 NОМ – The Kings of St.Petersburg – in Berlin

NOM first time in Berlin with full line-up including their original vocalist Alexander Liver.

Nikolai Gusev: Keyboard/ vocal
Andrei Kagadeev: Bass guitar / vocal
Varvara Zverkova: Accordion / vocal
Alexei Zubkov: Electric guitar / vocal
Vadim Latyshev: Drums
Alexander Liver: vocal
Nikolai Kopeikin: vocal

NOM is an acronym for the Russian “Informal Youth Organization” (Neformalnoe Obyedinenie Molodezhi), the term used by the official Soviet press in the 80es. The band “NOM” appeared in St. Petersburg in 1987 as an absurdistic-ironical answer to rock bands in post-soviet Russia. The band used musical cliches mixed queerly together with elements of mimic show of idiots, thus reaching strong emotional effect over the audience.

« The kings of St.Petersburg » remain unique phenomenon of Russian music culture. For the 32 years of existence the band created their own style, in which you can discover elements of progressive rock, punk, electronic minimalism, symphonic music , Russian folk, Soviet music and even opera. Lyrics plays very important role for NOM who follows traditions of such bright representatives of modern Russian poetry like Nikolay Gogol, Daniil Kharms, Nikolay Oleynikov and others. Critics called NOM « The last bastion of ruthless Russian satire ».

Their discography includes 15 studio and 4 concert albums, several compilations, remixes, and a special release « Russisches scweine » on British Manufracture label.

http://morezvukov.nl/artist-roster/nom/
https://en.wikipedia.org/wiki/N.O.M.



Pankow, Tara in Tibet live // Herzschlag

PANKOW (IT)

Pankow, founded in Florence back in 1981, are one of the very first electronic/industrial acts coming out from Italy. The founding member Maurizio FM Fasolo and his five co-band members at that time created sounds inspired by the likes of Throbbing Gristle, Cabaret Voltaire and early Kraftwerk.

After various line-up changes and the arrival of charismatic lead-singer and poet Alex Spalck, the project started to become noted also abroad and a first live-appearance in Berlin in 1984 marked the start of a long ongoing and successful career for the band.

Following a few cassette-releases and compilation appearances, Kindergarten Records – in collaboration with Polygram – released a first 4-tracks EP in 1984, that included the first more accessible, EBM-Electro-like tracks (even though the term ‘EBM’ was not ‘invented’ by that time…): songs like ‘God’s Deneuve’ and ‘Wodkachaos’ became major hits in Italy. The first LP came in 1987 on Contempo Records, and was produced by Adrian Sherwood.

Since 2016 Pankow started to collaborate with the Canadian label Artoffact by releasing their first official cassette (« Throw out Rite », 1984) and a 10 « vinyl (Times) with the first songs released only in some Italian compilations before and a couple unpublished ones.

The band is currently active and based in France/Belgium with the frontman singer Bram Declercq.

https://www.facebook.com/pankowband/
http://www.pankow.co.uk
https://pankow.bandcamp.com/

TARA IN TIBET (IT)

Berlin-based Tara in Tibet is a project of Alessio de Felice, co-runner of label She Lost Kontrol records and owner of Last Europa Kiss records.

His perfomances are waving between noise and groovy industrial, with a touch of esoterism.

Highly recommended for fans of occult sex parties, Italian police movies and dirty raw esthetics.

https://lasteuropakiss.bandcamp.com/
https://clandestinerecords.bandcamp.com/album/spirit-violence

TIQ

TIQ is a minimal-synth party loved and supported by different alternative scenes. DJ-sets are rigid, cold, rough-edge, blind-alley and the drum machine beats always like a metronome. No matter if the sound comes from the past, the present or the future, we are more and more devoted to select the best minimal-synth-wave music, so called « quadratic wave ».

Quadratic-wave is a word game and a concept from sound physics too, but the best way to catch it is to dance it, and the best way to dance it is by being concentrated and confined in a quadrangle as Die Tödlich Doris sang in their song Tanz im Quadrat: « Wir tanzen im Viereck, wir tanzen konzentriert ».

https://www.mixcloud.com/DJNEUEK/
https://www.facebook.com/tiqberlinquadraticwave/

 

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Kælan Mikla + Some Ember live

[aufnahme + wiedergabe] presents:

Kælan Mikla live
[ISL, Artoffact Records / Fabrika Rec]
www.kaelanmikla.bandcamp.com 

Icelandic post-punk meets death-synth trio Kælan Mikla returns for the group’s third album, Nótt Eftir Nótt.

Topping a year that catapulted the band onto stages shared with the likes of The Cure and Placebo, Nótt Eftir Nótt is Kælan Mikla at their most confident, and their most deadly. It’s been five years since Margrét Rósa Dóru-Harrysdóttir, Laufey Soffia, and Sólveig Matthildur Kristjánsdóttir formed the band in Reykjavik, but after several tours and high-profiles stages, as well as two critically-acclaimed albums, Kælan Mikla has brought their A-game in a big way.

Starting off quietly with a creepy, gothed-out ethereal intro, Nótt Eftir Nótt erupts with post-punk brilliance and synthlines that harken back to the bad old days of the Batcave, big hair, and Egyptian-inspired eye-liner. Tracks like the melancholy “Hvernig kemst ég upp?” are wonderfully delightful, while the band goes for the big goth dance number on “Skuggadans,” succeeding with glorious ease. Near the end of Nótt Eftir Nótt, when you’ve already ingested a healthy dose of Diamanda Galas meets The Birthday Party, the title track, produced by popular Icelandic electronic wizard Bang Gang, is basically perfect.

Hot on the heels of shows at Roadburn, Meltdown, and The Cure’s 40th Anniversary, as well as a Fall tour supporting King Dude, Kælan Mikla are set to take their place as one of darkest aural poets on the world stage.

Some Ember live
[US, Third Coming Records]
www.someember.bandcamp.com 

SUBMERGING THE SUN, the second LP by Some Ember, is a journal of climatological grief, intimate vulnerability, and transcendental sadness. Self-produced by songwriter Dylan Travis, the record’s sparse arrangements are weighted by bleak ambience and dramatic vocal turns. Icy synthesizers pierce veils of fog-like drones, delivering sorrow and catharsis. Tides of dissonance ebb to reveal glittering mirages of hope, which are just as soon swept away.

Long a fixture of the Oakland, CA musical underground, Some Ember has seen many forms – a solo dream pop bedroom project, a four-piece goth rock outfit, then a hardware-based synth duo, and now a solo performance project once more. Following cassettes on Crash Symbols, Night-People and Ascetic House, the band released their first LP on Dream in 2014. In 2015, Travis and longtime collaborator Nina Chase made the move to Berlin. After a tumultuous two years (which saw a further cassette released on Dream, “DEBTS OF LOVE”), the band will release SUBMERGING THE SUN, as well as a companion cassette EP, SUBMERGED, on Third Coming Records in November 2018.

Urban Spree (RAW-Area)
Revaler Str. 99/Warschauer Str.
10245 Berlin
www.urbanspree.com 
www.facebook.com/urbanspree 

www.aufnahmeundwiedergabe.de

 

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